Gabriel Orozco — Centre Georges Pompidou — Exhibition — Slash Paris

Past: September 15, 2010 → January 3, 2011

This outstanding exhibition is Gabriel Orozco’s first at the Centre Pompidou, and the first opportunity to see his work in Paris since his exhibition “Clinton is Innocent” at the Musée d’Art Moderne de la Ville de Paris in 1998.

Orozco, who lives in Paris for several months a year, has been closely involved in developing the project, helping to design, together with Centre Pompidou curator Christine Macel, an exhibition of more than 80 works that offers an overview of his career from the beginnings to today. It offers an opportunity to see drawings, photographs, paintings and sculptures from collections public
and private in France and abroad, many of which have never been seen in this country before.

Terra Cognita
Par Christine Macel,
conservatrice au musée national d’art moderne, commissaire de l’exposition

This exhibition at the Centre Pompidou follows shows at the Museum of Modern Art, New York, and the Kunstmuseum, Basel; another will follow at Tate Modern, London. The Paris show is larger than the two preceding, in terms of both exhibition space and number of works exhibited.

Having begun to establish an international reputation in the early 1990s, Gabriel Orozco is now recognized as one of the leading artists of his generation. Constantly travelling, and without any fixed studio, Orozco rejects national or regional identifications, drawing
his inspiration from the different places he has lived or stayed in. Born in Jalapa, Mexico, in 1962, he currently lives between Mexico, New York and Paris.

His open and constantly developing approach finds expression in works of widely varying scale in a great diversity of media, the artist showing equal ease, freedom and fluidity in photography, drawing, painting, sculpture and installation.

For this exhibition at the Centre Pompidou, Orozco has come up with an original layout based on the idea of the studio. Doing without internal walls, labelling or commentary, the works are displayed in a simplicity that echoes the moment of their creation, before
their appropriation by the museum and its apparatus.